Schedule 2016 / 2017

October 21st: Meeting with Tania Arias

Tania Arias Winogradow, Danza más cabra

21 & 22 October – 8:30 p.m.

Madrid – Première – Resident artist

Dance más cabra emerges from a few horns and in close connection with the world of fashion, especially with the figure of Alexander McQueen. The Horn of Plenty Dress, a title borrowed from a collection of McQueen, refers her to the Horn of Plenty dress. Thus, the starting point of DMC is the anti – speech as an engine to keep moving. The choreographer starts with what is the most superficial, as accessory as a fashion accessory, combining different languages ​​of movement as one more accessory. To put on and take off.

“It’s been hard to see Tania Arias working in recent years … Because when she dances she looks at the world. She looks at it with her eyes fixed, with a hard view. That look is formed by the same amounts of determination as of fragility, exposure and technique, freedom but also doubt. Hers is a vertical technique, which rejects the flowering but ends up letting the poetic tension get in ” Pablo Caruana for El País.

November 11th: Meeting with Celeste González

Celeste González, Ballet is past and me trans and you came

12, 13 & 14 November – 8:30 p.m.

Canary Islands – Première – Artist in residence

I look inside the classroom at the dance school where I trained as a dancer. I was standing at the doorway because the class had begun. Everything was exactly as I had left it. Nothing changes in ballet. “Someone has come. I don’t know you” – “Sorry I don’t want to disturb you” I said – “Now I recognize you!!… that voice!!” My teacher says. She approaches. We hugged and laughed for a long time. “You’re blonde now!” She tells me. She invites me in, we sit on the teachers’ bench: “Well, how shall I call you?” “I’m Celeste.”

Ballet is past is the presentation of this artist in his gender transition. Celeste González is a unique artist who has been able to work from her own body biography. She has been a precursor in our country in the contemporary porn scene.

18 November: Meeting with Marco d’Agostini

Marco D’Agostin, Everything is ok

18 & 19 November – 8:30 p.m.

Italy – Première and presentation of the artist in Spain

Everything is OK is presented as an experiment on the fatigue of seeing something. On the one hand an artist embodies an uninterrupted chain of movements, leaving signs, postures and dynamics that anarchically recall the broad field of entertainment and the Debord Show Society, exploited from its origins to the present. His dance is efficient in anatomical articulation, revealing the concretion of a body that is on stage only to present itself. His gaze, as if it belonged to another person, is constantly looking for the audience, it is the delivery to a state of bewilderment.

On the other hand the public is subjected to a bombardment of images with the aim of proving the fullness of seeing, the collapse of seeing something in a continuous, inevitable way, until that moment in which the look will tire and surrender to the body that Moves before him. During the performance, the time for evocation is ripped off on the surface of an embarrassing linearity; The events do not need any interpretation: they are only offered in the view of the spectators, thrown by a body-container. The representation surrenders to the “presentation,” while each movement is like a race toward weariness.

Marco D’Agostin is an active interpreter and choreographer in the fields of theater, dance and cinema. He has trained as a dancer with Yasmeen Godder, Nigel Charnock, Emio Greco / Mobile Academy, Sharon Friedman, Jorge Crecis, Rachel Krische, Guillermo Weickert, among others. Since 2010 Marco has been developing his own choreographic work, mainly through his participation in international projects such as Choreoroam Europe. He was the winner of the Gd’A Veneto Award in 2010 and was selected by Aerowaves in 2011 and Anticorpi XL 2011 and has been selected by the Dancenet Sweden network to visit in Sweden during the autumn of 2016.

9 December: Meeting with Marcela Levi

Improvavel Produccions (Marcela Levi – Lucía Russo), Boca de Fierro

9 & 10 December – 8:30 p.m.

Brazil – Argentina

In 1950, ships carrying perfumes and whiskey in the city of Betlem in northern Brazil also carried vinyls of meringue, salsa and zouk. Sixty years later, the influence of the Caribbean sounds made there appears in the same place, originating a new musical genre created by appropriation and alteration of popular music. This genre has been called tecnobrega. The fiestas of tecnobrega began as a hand truck with a turntable and a loudspeaker with the name of Boca de fierro. The directors propose a

The directors propose a solo of mega dance sound, a machine gun, a boat-body empty of identity and that will shake with fury in front of the public.

Rio de Janeiro-based choreographer Marcela Levi and Argentinian, Lucia Russo, founded Improvável Produções in 2010 in an attempt to create a shared artistic direction. Her previous piece, Mordedores, was included by the newspaper O Globo, in a list as one of the 10 best pieces of dance 2015.

January 20th: Meeting with Gisle Martens

Gisle Martens Meyer, There is no here here

19, 20, 21/01 19:00 22/01 – 19: 00H

Norway – 50 ‘- Presentation of the artist

There Is No Here, Here, is the live creation of a video clip, which questions our increasingly digital existence. Gisle Martens Meyer is a performer, a musician, a multifaceted artist who leads the audience, through a green chroma and a multi-camera device, to various scenes that are multiplied and edited live. The spectator is allowed to observe filtered reality. The show explores the realities, possibilities and visions of ourselves through our digital avatar. It analyzes how this constant edition of reality affects us, as individuals, in relationships and as a society.

Gisle Martens Meyer is a Norwegian artist who has based his work on the digital, from music, image and live. Currently based in Berlin, Germany, it has developed an artistic work closely linked with new technologies, mass media and digital culture, for theater, music, cinema and new media. His speech is shaped by a surreal aesthetic, peculiar and funny, where an apparent naïveté is introduced on a deep contemporary.

Autointitulado was done in order to forget a series of improvisations that we danced in a study prepared for this purpose. These recorded dances (erased since then) carried some residuals that were identified as influences, so many amazing images of the History of Dance. Each recognized or anonymous model has a weight that hardens our limbs, and has inspired the composition of all dances and choreographies according to our memory. The intervals of time between the models that reproduce, suppose a kind of narration.

João Martins dos Santos is one of the most well-known young choreographers in Portugal. He collaborated as an interpreter with Eszter Salamon, Xavier Le Roy and Rui Horta, among others. Cyriaque Villemaux danced for Noé Soulier and Xavier Le Roy at festivals such as the Festival d’Automne à Paris.